Conference napalm::guitar

    When I was on company business (Aerospace company, not DEC) back in
    1976, I spent 2 months in Linkoping Sweden. After a few days I went
    around to visit all of the music shops in town & found that I ended
    up with a few new friends. Here, 13 years later, I still have them
    as friends.

    We shared a lot of insights about music & swapped guitar tricks. It
    was interesting to view the music scene in Sweden as compared to
    Los Angeles (where I was living at the time). I also met up with some
    travelling musicians from Northern England & it was quite interesting
    to talk & take in some local gigs. There was a monthly show that
    one music shop owner (about my age - a guitar player) put on with his
    staff that I participated in (I played Bass guitar).

    I also went with the guitar players band to a hotel in northern Sweden
    & had a blast.

    I didn't like 'Pripps' beer (still don't), so I always bought Tuborg
    when they were with me (that made me more popular) & I often treated
    for dinner (It helps when you don't have any real expenses of your
    own). My Friend Stig (the shop owner) was associated with 'Musiks
    Borsens' (I think that I spelled that right) in Stockholm, & I thought
    it interesting to visit a large european music store.

    About a year later, Stig came out and spent 3 months with me in
    L.A. As I say, we still exchange letters & tapes (I've sent tapes
    over for him to put a solo onto & he's mailed it back, sometimes with
    added vocals).

    I've a friend in Japan (No I wasn't there, he was in Chicago visiting
    at the time I met him - I lived in Chicago before moving to L.A.) that
    I also swap letters & tapes with.

							    Jens

    As mentioned in the original note - talking to non English-speaking
    musicians is sometimes complicated due to different musical notation. 
    I forced myself to learn both since I have been living in French-
    speaking Geneva.
    (just for memory : A=LA, B=SI, C=DO, D=RE, E=MI, F=FA, G=SOL)
    
    I find that using letters is easier for reading scores (remember
    the famous EVERY-GOOD-BOY-DESERVES-FAITH, and F-A-C-E) - you just
    cant do that with DO-RE-MI...
    
    Wonder why there are still two systems ?
        Richard

	The Indian musical notation starts with "Sa, Rey, Ga, Ma, Pa,..."
	which basically stands for the same notes - however, it may
	start with C instead of A (not sure).

	Interestingly enough, after 20 years of playing, I still use the
	10,20 system to write my homebrewed licks - I can't read or write
	music.

	/ravi

    One of our readers asked for the TAB of "La Bamba" off-line.  I
    figured I would post it since I wrote it up.  
    
    This is the intro we all know and love :-)

e
b
g                   0     2    0
d                2     3
a     0   2   3
e  3

Repeat this part twice:

e
b
g           2  2  0           0     2  0
d        0           2     2     3
a     2                 3
e  3

Then the traditional song goes into a pattern of D, G, A7 chords.
Sorry, I don't know the original lyrics and chord placement.

Have fun,
Mike

    What are the American note names for the "DO RE MI FA SO LA TI DO"
    scale?
    
    Mike

>>    What are the American note names for the "DO RE MI FA SO LA TI DO"
>>    scale?
    
    	I don't think there are any.  "DO RE MI..." is a method for
    learning intervals and sight-singing pitches.  I believe the formal
    name for the sylable/interval relationship is solfegio (I'm sure I
    slaughtered the spelling).  For a major key, "DO" is the tonic or
    "base" of the key.  For example, in the key of "C" (major) 
    
    			DO = C
    			RE = D
    			MI = E
    			FA = F
    			SO = G
    			LA = A
    			TI = B
    			
    	In the key of G, "DO" would be a "G", "RE" would be an "A" and so
    forth.
    
    
    					Jim

    RE : .6
    
    Just to clarify my previous note.  While for the key of G major, 
    "DO" is a G, and "RE" is an A,  "TI" would be an F#  (G has one sharp).
    

    FWIW, classical musicians use "fixed" solfege..."Do" being based around
    Middle C, and everything being relative from that!!
    
    Thank god Berklee used a movable "Do" system...it made life much easier.
    
    
    Wether or not you are using "Fixed" or "Moveable" Do, here is the 
    Solfege syllables for the chromatic scale:
    
    Do  Di/Ra  Re  Ri/Me  Mi  Fa  Fi/Se  Sol  Si/Le  La   Li/Te  Ti  Do
    
    C   C#/Db  D   D#/Eb  E   F   F#/Gb   G   G#/Ab  A    A#/Bb  B   C
    
    *a = "ah" sound  Ra = "Rah", Fa = "Fah", La = "Lah", etc.
    
    *i = "Tee" sound  Di = "Dee", Mi = "Mee", Fi = "Fee", Si = "See". etc.
    
    *e = "ay" sound  Re = "Ray", Me = "May", Se = "Say", Le = "Lay", etc.
    
    Hope that helps y'all pronounce those chromatic buggers!
    Buck

    Addendum to -1 and others a few back.
    
    So, if you're classically trained, and used a "fixed" Do system,
    the Key of G major, for example, would be sung:
    
    Do  Di/Ra  Re  Ri/Me  Mi  Fa  Fi/Se  Sol  Si/Le  La   Li/Te  Ti  Do
    
    C   C#/Db  D   D#/Eb  E   F   F#/Gb   G   G#/Ab  A    A#/Bb  B   C
    
    
    Sol  La  Ti  Do  Re  Mi  Fi  Sol
    
    G    A   B   C   D   E   F#  G
    
    
    The G Lydian b7 chord scale (goes over 2ndary dominants) would be
    
    Sol  La  Ti  Di  Re  Mi  Fa  Sol
    
    G    A   B   C#  D   E   F   G
    
    
    Ab Mixolydian would be
    
    Ab  Bb  C   Db  Eb  F   Gb  Ab
    
    Le  Te  Do  Ra  Me  Fa  Se  Le
    
    
    Get da picture?!?!?
    Buck